Last night I saw the brilliant ballet Raise the Red Lantern at the Brooklyn Academy of Music (thanks Ga). The production was spectacular and so luscious that it made me feel royal just to be able to watch it. Here’s Loren Noveck in nytheater.com:
The piece’s strength is in its overall visual sense—striking tableaux, gorgeous costumes (by Jerome Kaplan) and sets (by Zeng Li), bold use of color. Moment after moment makes an immediate and vivid impression: In the prologue, the second concubine, dressed like a schoolgirl, is forced into an elaborate palanquin, where she remains for much of the first act, emerging in sophisticated red robes only for her wedding. The majority of the wedding night is played behind screens, so that the second concubine and her master appear as silhouettes, his shadow towering over hers; as she attempts to evade his sexual advance, she continually rips through panels of the screen. The execution at the end is symbolized by a stylized procession of soldiers, each smacking a white screen with a club and leaving a blood-red streak—over and over, until all three bodies are motionless in a heap at center stage, and then are covered by a shimmering snowfall as the curtain falls.
More here.
